Wog Boy 2: The Kings of Mykonos 2010

The film opens with the funeral of Panos, setting off a tangled web of wishes, schemes, and family ties on the sunlit island of Mykonos. Mihalis, Alex Dimitriades, a rich and handsome young man, assumes the lion’s share of Panos’s fortune is his birthright, only to learn that Panos has left his estate to someone else entirely. This revelation kicks the story into motion, pulling in relatives, old friends, and ambitious newcomers as secrets begin to surface.

Cousin Tzimis, Dimitris Starovas, rings Steve Karamitsis, Nick Giannopoulos, to announce that he has inherited a beach worth 2.5 million euros, along with a tavern and a modest house on the picturesque Greek resort. Steve’s world quickly widens as he watches his longtime friend Tony the Yugoslav, Costas Kilias, get hauled away in his father’s shop for theft and drugs, losing the shop and his beloved ‘69 Chrysler VF Valiant Pacer in the process. Steve and his old ally Frank, Vince Colosimo who has endured the ache of losing his wife and his mistress, fly together toward Mykonos, chasing a future that feels dangerously unsettled.

On the island, Tzimis and his Spartan wife Voula, Galini Tseva, run the tavern Steve has inherited, a place where locals mingle with travelers and the past never fully stays buried. Steve soon discovers that claiming his inheritance isn’t straightforward: he must pay 1.1 million euros in tax because he is not an immediate descendant of Panos. With scant funds, he moves into Panos’s home and uncovers Panos’s old car, a rare 1964 Pontiac Catalina, and a Kri kri goat named Apollo, a pair of artifacts that anchor the film’s whimsy and wonder.

As the narrative thickens, Tony resurfaces, having slipped from Australian authorities and adopting the moniker Tony the Cretan, joking that Crete isn’t part of Greece. Two German environmentalists, Otto and Dieter, chase the goat Apollo, arguing it is a rare species and a prize they won’t let slip away. Into this swirl of deception walks Zoe, a grounded and magnetic singer who owns half of a local nightclub called the Seven Sins, with Mihalis owning the other half. Zoe’s charm draws Steve in, and their budding connection adds a hopeful counterpoint to the island’s fevered schemes.

Meanwhile, Frank finds himself entangled in a high-stakes bet with Pierluigi, Kevin Sorbo, the so-called King of Mykonos who earned a notorious reputation for his escapades—“a record that will never be broken,” as Tzimis cheekily notes. The wager is to seduce Enza, a striking but distant Italian beauty. The setup hints at a world where appearances deceive and loyalties shift with the tides.

As the tale unfolds, it becomes clear that no one is who they initially seem to be. Pierluigi is not Italian but American, bearing a secret agenda. Mihalis has ulterior motives for seizing the beach, while Steve proves to be more than the casual “wog” he first projects. Frank’s bravado hides his vanity, Zoe carries a tragic past and the shadow of blackmail from Mihalis, Enza proves not to be snobbish after all, and Panos—far from being a distant relative—turns out to be Steve’s biological father.

Steve’s pursuit of a clean inheritance stalls when hard evidence refuses to surface. Mihalis steps forward, claiming the inheritance and vowing to cover the taxes, with plans to sell the beach to the highest bidder. A rally race between Mihalis’s Porsche 997 and Steve’s repaired Pontiac Catalina becomes a battleground for leverage and legacy, with Tony providing the parts that keep Steve’s dream alive. The match is interrupted by the German environmentalists, who reveal a startling archaeological stake: an ancient coin lies somewhere on the site, a discovery so significant that retrieving it could render the beach an official archaeological site off-limits to exploitation.

The hunt for the coin intensifies as Mihalis and Steve momentarily set aside the race to hunt for the artifact. In a pivotal turn, Zoe intervenes with documents that prove Panos was Steve’s biological father, flipping the inheritance equation on its head. With this new evidence, Steve reaches a legal and emotional resolution: he inherits, but chooses to preserve the beach as a historical site named “Apollo,” honoring the very goat that sparked so much of the island’s drama.

In the end, Zoe’s independence is secured as Mihalis’ grip loosens, and the community erupts into song, with the islanders singing Down Under by Men at Work, a buoyant coda that echoes the film’s themes of identity, belonging, and the pull of a seaside home. Apollo the goat remains a symbol, a playful, stubborn thread woven through a tapestry of love, greed, and the sometimes blinding glare of inheritance.